These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

The continuous ratings of Felt Emotional Valence and Arousal, plotted three different ways. First as individual lines with the cross listening average, then layered per session with colour marking the scale values, and finally the activity-level times series reporting the proportion of listenings showing rating changes up or down per 2 s interval.

These responses were collected to Ne m’oubliez mie/DOMINO (Mo 236) by Anonymous 4 from the album Love’s Illusion. The piece was familiar to the listener as background music, but not a piece they had sung or studied. The recording can be heard on spotify.

These graphs report the time course of responses to this bassoon and harp duet over 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures.

These respiration phase plots show a few moments of extraordinary alignment with the music as a few instances, for example 45 s in, and also characteristic elongated respiratory period with the end of the piece. These details are most obvious in the top most plot, reporting change in chest circumference for each listening, row by row.

Plots of respiratory phase alignment with the stimulus, along with statistical assessments of these coincidences.

These responses were collected to Romance (Debussy) by Rachel Talitman and Luc Loubry from the album The Golden Age of Harp and French bassoon. The piece was not particularly familiar to the listener who is a bassoonist. Unfortunately, no version of this very sweet duet is available online from artist linked sources.

These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

One of the remarkable consistencies of responses shown in this piece is the timing of changes in heart rate, an indication of respiratory sinus arrhythmia (RSA) and deep engagement with the music. See the darkening strips in the rows of instantaneous heart rate (top plot) at 17s, 40s, 55s, and 78s.

These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

One distinctive response behaviour was the zygomaticus activity (smiling) in the second verse of this familiar chanson, reported in the third and fourth plots below. This is very common around 60s, where the corrugator (frowning muscles in the forehead) was also active in the resultant amused expression. The trumpet solo at the end was more simply pleasurable, without any brow activity.

Summary of the three surface Electromyography recordings, Corrugator, Zygomaticus, and Upper Trapezius, across listenings to Stimulus 1. Plots 1, 3, and 5 layer the sessions, reporting normalised intensity of muscle activation by colour. Plots 2, 4, and 6 report activity levels on the proportion of listenings exceeding different thresholds of activation per half second.

These responses were collected to Boum! by Charles Trenet. The piece was very familiar to the listener, an old favourite.Finding the exact album source is difficult but the recording had been remastered. Below is either the same or a very similar recording.

These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

The continuous ratings of Felt Emotional Valence and Arousal, plotted three different ways. First as individual lines with the cross listening average, then layered per session with colour marking the scale values, and finally the activity-level times series reporting the proportion of listenings showing rating changes up or down per 2 s interval.

These responses were collected to Lousy Reputation by We Are Scientists from the album With Love And Squalor. The piece was familiar to the listener.

These graphs report per stimulus the time course of responses across the 24 listening sessions. Some report the general patterns of responses, other show how the listener’s responses changed over successive exposures

The continuous ratings of Felt Emotional Valence and Arousal, plotted three different ways. First as individual lines with the cross listening average, then layered per session with colour marking the scale values, and finally the activity-level times series reporting the proportion of listenings showing rating changes up or down per 2 s interval.

These responses were collected to Fortuna Imperatrix Mundi: O Fortuna by Orchestre Symphonique de Montréal from the album Wordsongs. The piece was very familiar to the listener as they had performed it under in at least two productions, although neither time was with this orchestra nor under Charles Dutoit.